Underwood New Music Readings: Composer Spotlight - Kay He
Composer Kay He one of the seven selected composers for ACO's 24th annual Underwood New Music Readings on May 6 and 7. She dedicates her selected piece Passeig de Gràcia to her parents, and was inspired to write it after visiting the famous Barcelona avenue. Read her full program note here.
Kay was kind enough to answer some questions for SoundAdvice.
Composer Yuanyan Kay He
What was your reaction to finding out your piece had been selected for the Underwood New Music Readings?
I felt so happy. Writing for orchestra is always one of the biggest challenges for emerging composers, so hearing our music performed by a professional orchestra and learning from the orchestra are some of the most valuable experiences for young composers. Also, the master classes instructed by leaders in the industry, which provide information on subjects such as instrumental balance and timbre, communication skills between conductors and musicians, part preparation, and copyright commission agreements, provide important learning opportunities and skills for aspiring composers. I am so lucky to be chosen for ACO's Underwood New Music Readings. This opportunity will inspire me to keep working hard in my composition career. I also hope my music can convey a new music spirit to other young composers and encourage them to write their own orchestra music. Many thanks to ACO for selecting my work. It means a lot to me.
What preparations are you making ahead of the readings with the American Composers Orchestra?
In my piece, there are many sudden mood changes and different layers of foreground and background instruments. To prepare for the reading, I studied my score very carefully to make sure all mistakes were eliminated. But, because there are about 30 or 40 systems in the full score, it wasn't easy to catch all the mistakes. Then, I spent some time completing the parts, which is a good way to proofread the entire score. Additionally, while I read my scores, I always try to imagine my piece in my head and sing the music with my heart in order to remember the characteristics and tempo of each section. I believe doing this exercise and fully understanding my score/piece will allow for better communication between me and the conductor.
Follow Kay on Facebook andSoundcloud
www.kayhecomposer.com
American Composers Orchestra is grateful to the many organizations that make its programs possible including Arthur F. & Alice E. Adams Charitable Fund, Altman Foundation, Amphion Foundation, Benevity, Aaron Copland Fund for Music, BMI Foundation, BMI, Inc., Charity Navigator's Giving Basket, Cheswatyr Foundation, Edward T. Cone Foundation, Communities Foundation of Texas, The Gladys Krieble Delmas Foundation, Alice M. Ditson Fund of Columbia University, Fan Fox and Leslie R. Samuels Foundation, Ford Foundation’s Good Neighbor Committee, Give Lively, Francis B. Goelet Charitable Trust, Fromm Music Foundation, Steven R. Gerber Trust, G. Schirmer/Wise Music Foundation, The Hearst Foundation, Howard Gilman Foundation, The Adele and John Gray Endowment Fund, Jephson Educational Trusts, Jerome Foundation, MacMillan Family Foundation, Mellon Foundation, New Music USA’s Organization Fund, The New York Community Trust (Musical Arts Fund, Clara Lewisohn Rossin Trust, and Edward and Sally Van Lier Fund), Pacific Harmony Foundation, Paypal Giving Fund, Rexford Fund, Sphinx Venture Fund, TD Charitable Foundation, Turrell Fund, UKOGF Foundation, Virginia B. Toulmin Foundation.
Corporate gifts to match employee contributions are made by Goldman Sachs, Deutsche Bank, Triton Container International Incorporated of North America, and Neiman Marcus.
Public funds are provided by the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, Office of Brooklyn Borough President Reynoso, and the National Endowment for the Arts.
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